ØRESUND SPACE COLLECTIVE

Here Øresund Space Collective experiment with oblique structures of sound integrating them intricately. They approach the collaboration of sounds like a biologist analysing each organism of sound and meticulously weaving them into each other. The arrangements are multi layered yet highly collaborative sounds that excites the ears to no end. The prog approach of Øresund Space Collective is light to medium allowing more for the recognition of the space-rock aspect, yet the 'play' on its structuring keeps the listener well attached to their message. Though a mild push of prog, the collaborative method gives the impression toward an honest and true-to form loyalty of a more classic era.

Pushing familiarity of the past, sounds hinted with the ol' Hammond organ (Doors) conservatively layer the sound for that classic prog feel. Heavy echoing, overdrive and Wah-Wah peddling guitars (Iron Butterfly) also draw to a bygone era that was classified by its stylistic arrangement of sounds at the time. Modern keyboard euphoria (Hawkwind) emphatically states the space-rock genre intent. Percussion is a major driving factor accompanying alongside a very active guitar make-up.

Almost typical of space-prog-rock, tracks are elongated so as to travel you to another place while only remaining seated in your favourite observation post. Coming to the end of any of the 9 tracks is akin to arriving at your physical travel destination of a long distance trek as if it were only a few minutes.

Walking On Clouds manifests in two sections, originally developed by Daniel, that means you can't really say that the music is completely improvised. Backed by a solid rhythm branch this is smooth, cheerful, featuring nice inspired guitar interplay, partially enriched with spacey patterns as well as chirping synths. Not quite a spectacular album - as I'm familiar with the complete studio discography - but surely something to dig. 'Organic Earthly Flotation' again proves their ambitious approach to update the sound with every entirely new production.

Side A's title track sees the band mired in a brooding snarling swampy sound, heavy and driving as if they're marooned on the surface of a mucky alien world. The early sections of the piece have a serious dark groove to them, beautiful subtle tempo changes back and forth thanks to some spontaneous drum-fills and punchy unrelenting bass. The usual OSC synths take more of a back-seat to the twin guitarists, who help give the piece a driving and confident slow-burn. The second half turns into one of the dustiest and most bluesy pieces from the band to date, a searing near-boogie that kicks up so much dirt, it's interesting to hear them with their feet on the ground for a change! A welcome diversion from all their usual outer space adventures.

The flip-side aims for the stars again, and `Ear Meat' initially starts like many Oresund pieces, glistening and ethereal chiming guitars drenched in reverb and delay, shimmering synth pulses and tendril-like bass that creates a floating deep space cocoon for the listener. But things rapidly take a dangerously psychedelic turn once the band surprisingly incorporate whispered treated poetry. We emerge on the other side to a sonically violating electronic passage that reminds of similar sections of the Ozric Tentacles' `Strangeitude' album, then plodding hypnotic bass and a black hole of whirling synths take the OSC closer than ever to a serrated and unnerving Hawkwind edge. Completely disorientating and experimental, it's another immense colourful vision with a hint of danger that the band does so well.

You can safely pick up any Oresund Space Collective release and know you're going to get some quality space rock, and `Phaze Your Fears' is no exception. The title track presents them at their more earthy and grounded best, the second side their most wildly inventive, ambitious and challenging trip so far. It's perfect for new listeners and even more satisfying for established followers, and it's even better value now that it's available in a double CD set - two sublime space albums, what more could be ask for?

Four stars.

The music is laid-back, dreamy space rock with jazz & blues flavour, totally instrumental, and features guitar as the leading instrument. Kev's review tells about the central element of improvisation. I didn't know that but it's easily felt in the free-floating way the tracks move forward - or rather, keep hovering in anti-gravity. 'Walking on Clouds', like the first side is titled. The album was recorded in just two days (April 2012), which is the best proof of the skill of this group. It doesn't sound half-baked or unfinished. My only negative remark would be that the four tracks may not vary the sound, shape or mood as much as would be an ideal. But still the whole album is an enjoyable ride and suits perfectly for either background for e.g. reading - or Tantric sex (of which I have no experience actually, but that felt like the right thing to say!) - or for slow lingering between sleep and waking-up on a hurriless morning, or why not as good night music too.

The title "Organic Earthly Flotation" sums up the music pretty well. This is not cold, alienated and synthetic soundscape as much of Electronic Music is, but warm, sensitive and organic, and it sure floats psychedelically. The spacey guitar playing has a bluesy vibe and synths furthermore paint the images of space. Sometimes they are Kitaro-like windy sounds, sometimes related to Schulze, Jarre and such, sometimes bizarre psychedelic bubbling (like in the end of side one of NEKTAR's Remember The Future). Drums - and naturally bass guitar - are also an essential part of the sound. No hi-hat or fancy tempo changes, but a relaxed basic backing to give the "earthly" feel. I get associations of the late sixties Pink Floyd, Bo Hansson's Sagan om Ringen, Manuel Göttsching (Ash Ra Tempel, Ashra and solo) and some other Krautrock, Jimi Hendrix's 'Little Wing' - and perhaps also Santana for the guitar work, but I was carried there by the track title 'Carlos on the Moon', which, I believe, refers to Carlos Santana. At least that's a better bet than Walter/Wendy Carlos, right?

I warmly recommend this to all friends of bluesy, relaxed space rock.

The opening track, "Walking on Clouds" (composed by Daniel, which the rest of the band jammed on) was the only one that was pre-written, with the other three being totally improvised. There are only four songs, but it still has a total playing time of 48 minutes. If you have never come across these guys, then they are well worth investigating. There is something incredibly entrancing and inviting about this style of space rock which has as much in common with jazz as it does with Hawkwind as the guys all take their cues from each other and goes wherever the music takes them. It is inventive, compelling and somewhat incredible all at the same time. This album had as much of an impact on me as their debut did, and now I see that I am going to have to spend some time investing in some of the others that have passed me by. This is a band that very much follow their own path, bringing together elements from many, to create something singularly and definitively theirs. All of the band combine to make this all work, building a sonic soundscape that allows the guitars to bring together the best of Hillage and Allen, in a truly wonderful way. For more details on this and all of their releases visit www.oresundspacecollective.com.

`Viking Stew Catastrophe' begins as a slow burning dark alien reggae groove in the furthest reaches of space, subtly moving through brooding unknowing black-hole tension, pulse-quickening electronic danger and finally aggressive maddening attack in the finale before you even have time to breathe. Imagine David Gilmour in his late 60's/early 70's prime jamming in the corner, with Tangerine Dream standing at the bar before being crushed and pushed aside by the stomping Hawk Lords themselves. A seamless performance that floats through a range of moods and emotions effortlessly.

The pulsing synth bubbles that open `The Church Goes To Space' sound so much more like a deep sea aquatic voyage that it makes me want to take on Bubble Man and his underwater lair in `Mega Man 2' all over again (man, that takes me back about 20 years)! Tranquil and dozy chiming electric guitar delay ripples around the speakers, brooding slinky bass slithers along the ocean surface, before gentle blowing winds lift us up and fling us towards the space lines. We spin and weave around the aural tornado, lonely yet comforting crystalline electric guitar majesty and the hint of rumbling drum thunderclaps make our heart skip a beat. We are guaranteed safety here, but the protection is soon to be tested.

`Monster Jam (excerpt)' is just that, all snarling snapping attacking danger, guitars and drums charging right for the throat of this traveller, stomping down hard and heavy, intimidating organ and howling monster wails crushing all in it's path. Soon otherworldly forces begin the difficult task of reshaping this damaged planet, dubby bass, scratchy lively searing guitar and swirling synths our colourful, playful and finally proud and joyous soundtrack that hints at the excitement and opportunity of creating life anew, full of possibilities and potential.

New life moves through `The River Flows Through Me', fused with a mix of human and alien DNA emerging from the ruins of this wrecked world. A new dawn of spiritual enlightenment and peace, the driving and melodic guitar jamming filled with renewed purpose, the glorious synth washes and strident drumming moving us ever forward. Gulping swallowing bass draws in the negative energy and disperses it into a positive humming life-force, a raging whirlwind of synesthesia as our sensory pathways are blurred as one. Time slows down, thoughtful bluesy guitar makes us ponder who we are and stops us from losing ourselves, we reflect on this altered state of being with pulsing repetitive disorientating electronic waves and beats to numb our thoughts into hypnotic bliss. The final passage is a truly moving, emotional and victorious send off, rarely before have the band sounded so uplifting, before a roaring guitar solo brimming with confidence closes the piece that might be one of the greatest moments the OSC has ever committed to disc. Waves of time, hold me close, and carry me floating into the New Age.

Although housed in a simple cardboard slipcase, special mention must go to the insane galactic rainbow explosion cover artwork, and I'm pretty sure that's some kind of cosmic rooster buried in the swirling patterns! Hopefully we see more of these limited edition live performance releases in the future, and as this one is limited to 200 copies, space cadets better get a move on and snap it up right away!

Four exploding stars.